LOAN  EXHIBITION 


PAINTINGS 

BY 

EL  GRECO  AND  GOW 

AT  THE 

GALLERIES  OF  M.  KNOEDLER  & CO. 
556-558  FIFTH  AVENUE 

APRIL  2d  TO  THE  20th,  INCLUSIVE 
1912 

THE  PROCEEDS  ARE  TO  BE  DEVOTED 
TO  THE  CAUSE  OF 
WOMAN’S  SUFFRAGE 


ei  6reco— Cardinal  Don  fernando  Rino  dc  6ue»ara 


LOAN  EXHIBITION 


PAINTINGS 

BY 

EL  GRECO  AND  GOY^ 

AT  THE 

GALLERIES  OF  M.  KNOEDLER  & CO. 

^ , n 

556-558  FIFTH  AVENUE 

APRIL  2d  TO  THE  20th,  INCLUSIVE 
1912 


THE  PROCEEDS  ARE  TO  BE  DEVOTED 
TO  THE  CAUSE  OF 
WOMAN’S  SUFFRAGE 


^hc  Wmtliiroj> 
Press 


l^cu/  iJork 


OMENICO  THEOTOCOPULI, 
called  El  Greco/’  was  born  in  Kan- 
dia,  on  the  Island  of  Crete,  about  the 
year  1548.  He  studied  in  the  Vene- 
tian School,  and  possibly  under  Ti- 
tian, yet  his  name  does  not  appear 
in  the  extant  list  of  Titian’s  pupils. 
He  was  called  to  Spain  and  settled 
in  Toledo,  where  he  soon  developed  a very  distinct  style 
of  his  own.  He  evidently  was  much  appreciated  in  his 
day,  and  received  many  orders  from  the  clergy  and 
nobles,  with  whom  he  appears  to  have  had  constant  dis- 
putes over  conditions  and  price. 

In  those  days  there  v/as  a sort  of  tariff  on  the  sale  of 
each  picture,  and  ''  El  Greco  ” thought  this  unfair  and 
refused  to  pay  it.  A suit  brought  before  the  Royal 
Counsel  of  the  Hacienda  was  decided  in  his  favor,  and 
the  arts  afterwards  were  exempt  from  duties  or  imposts. 

Theotocopuli  was  much  engaged,  too,  as  a sculptor 
and  architect. 

His  house,  situated  near  the  walls  of  the  ancient  city, 
and  overlooking  the  Tagus,  has  recently  been  restored, 
and  is  now  a Museum  and  contains  some  of  his  pictures. 

He  was  fond  of  luxury,  and  it  is  known  that  he  was 
accustomed  to  have  musicians  play  for  him  during  his 
repasts. 

He  died  in  Toledo  in  1614  (?). 


3 


EL  GRECO 

(1548-1614?) 

1 Cardinal  Don  Fernando  Nino  de  Guevara. 

Full  length,  seated  in  an  arm-chair  covered  with  red 
velvet ; turned  half-way  to  the  left,  looking  at  spectator. 
Each  arm  rests  on  an  arm  of  the  chair.  He  wears 
Cardinal’s  robes,  but  carmine  in  color.  He  has  a gray- 
ish beard,  wears  spectacles  and  has  on  his  head  a biretta. 
In  the  background  on  the  left  a closed  door,  on  the  right 
gold-leather;  tiled  floor. 

Signed  in  full  in  Greek  on  a piece  of  paper  on  the 
floor. 

Canvas  42  W.  x 67  H. 

He  was  Archbishop  of  Seville,  Grand  Inquisitor  and 
Member  of  the  Royal  Council.  He  died  in  1609,  aged 
68  years,  and  was  interred  in  the  Church  of  the  Con- 
vent of  Saint  Paul  in  Toledo. 

Illustrated  in  “ Les  Arts,”  1906,  No.  58,  page  21. 
Illustrated  as  a frontispiece  in  Cossio’s  “ El  Greco,” 
1908. 

Illustrated  in  “ Masters  in  Art,”  1908,  page  271. 

Mentioned  in  “ Les  Arts,”  1906,  No.  58,  page  27. 
Mentioned  in  Cossio’s  “ El  Greco,”  1908,  pages  422  and 
595,  No.  283. 

Mentioned  in  “ Masters  in  Art,”  1908,  page  295. 
Exhibited  in  Madrid,  1902. 

Collection  of  the  Countess  Onate,  Madrid. 

Collection  of  Count  Paredes  de  Nava,  Madrid. 


4 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/loanexhibitionof00mkno_1 


€1  ercco’s  Bouse— Colcdo 


EL  GRECO 

(1548-1614?) 

2 St.  Peter. 

Half-length,  nearly  full  face,  eyes  raised ; hands 
clasped ; around  the  left  arm  a cord,  on  which  hang  the 
two  keys.  He  wears  a green  robe,  which  is  covered  on 
his  right  side  by  a yellow  cloak.  Grayish  white  beard 
and  hair. 

Canvas  3034  W.  x 37^  H. 

Probably  one  of  the  set  of  twelve  Apostles,  painted  for 
a religious  institution  in  Toledo  (?). 

Previously  in  a Collection  in  Vittoria,  Spain. 


5 


EL  GRECO 

(1548-1614?) 

3 A View  of  Toledo. 

Hilly  green  landscape ; in  the  middle  distance  the  val- 
ley of  the  Tagus  spanned  by  the  Alcantara  bridge, 
originally  built  by  the  Moors.  High  on  the  right  the 
town  of  Toledo  with  the  Cathedral  spire.  To'  the  left 
of  centre  is  a fortress.  Dark  cloudy  sky,  illuminated 
by  yellowish  white  light,  which  also  illuminates  the 
buildings. 

Canvas  42%  W.  x 47%  H. 

This  is  the  only  landscape  Greco  ever  painted,  although 
he  used  a distant  view  of  Toledo  in  one  or  two  of  his 
other  compositions. 

Illustrated  in  “ Les  Arts,”  1906,  No.  58,  page  19. 
Illustrated  in  Cossio’s  “ El  Greco,”  1908,  page  137. 

Mentioned  in  “ Les  Arts,”  1906,  No.  58,  page  26. 
Mentioned  in  Cossio’s  “ El  Greco,”  1908,  pages  452  and 
565,  No.  83. 

Previously  in  the  Collection  of  the  Countesses  de  Ano- 
ver  and  de  Castaneda,  Madrid. 


6 


EL  GRECO 

(1548-1614?) 

4 Christ  Bearing  the  Cross. 

Nearly  three-quarters  length,  turned  slightly  to  the 
right;  eyes  raised  Heavenward.  On  left  shoulder  he 
holds  the  Cross,  the  right  hand  above  the  left.  He  wears 
a purplish  red  robe  under  one  of  a bluish  green  color. 
Represented  with  beard  and  moustache.  On  his  brow  is 
a Crown  of  Thorns.  Sky  background. 

Signed  in  Greek,  lower  left. 

Canvas  15  W.  x 21J4  H. 

Purchased  in  Madrid. 


7 


Copa— Cl)e  Women  on  tbe  Bakonp 


RANCISCO  JOSE  DE  GOYA  Y LU- 
CIENTES  was  born  of  peasant  par- 
ents in  Aragon  on  the  30th  of  March, 
1746,  and  died  in  Bordeaux  on  the  15th 
of  April,  1828.  He  lived  under  four 
Kings  of  Spain.  In  Charles  IIEs 
reign  was  elected  a member  of 
the  Academy  of  San  Fernando,  and 
Charles  IV  appointed  him  Royal  Portrait  Painter.  Ferdi- 
nand VII  received  him  as  a member  of  his  Court, 
although  previous  to  that  he  had  taken  an  oath  of 
allegiance  to  Joseph  Bonaparte. 

The  versatility  of  Goya’s  art  is  shown  in  his  clever 
etchings,  lithographs  and  works  in  fresco,  while  the  sub- 
jects he  treated  in  oil  are  indeed  varied.  They  comprise 
scenes  of  the  bull-ring,  Church  festivals  and  episodes 
of  the  French  invasion,  with  all  the  repellent  and  real- 
istic features. 

From  1776  to  1791  he  painted  forty-six  cartoons  for 
tapestries  intended  as  decorations  for  the  Royal  Palaces, 
and  they  form  a most  important  and  valuable  group  of 
his  works.  His  portraits  are  the  most  brilliant  and  indi- 
vidual works  executed  in  Spain  since  the  time  of  Velaz- 
quez. 


9 


GOYA 

(1746-1828) 

The  Women  on  the  Balcony. 


5 

On  a balcony  behind  an  iron  rail  are  seated  two 
women ; the  one  on  the  left  wears  a low-neck  white  dress 
and  on  her  head  a black  mantilla.  The  other  is  dressed 
in  black  and  wears  a white  mantilla;  behind  her  stands 
a man  wearing  a hat  and  a brown  cloak,  with  which 
he  covers  his  chin.  Behind  the  woman  on  the  left  is 
seen  another  man  in  black  dress  and  hat.  Grayish  brown 
background. 

Canvas  48  W.  x 74  IT. 

Etched  by  L.  Flameng  in  Lafond’s  “ Goya,”  opposite 
page  4. 

Reproduced  in  Calvert’s  “ Goya,”  1908,  plate  182. 
Mentioned  in  Lafond’s  “ Goya,”  page  108,  No.  43. 
Mentioned  in  Calvert’s  “ Goya,”  1908,  page  150,  No.  5. 

Exhibited  in  the  Goya  Exhibition,  Madrid,  1900,  No. 

112. 

Collection  of  D.  Sebastian  de  Bourbon  and  Braganza. 
Collection  of  the  Duke  of  Marchena,  Madrid. 


10 


GOYA 

(1746-1828) 

6 Maria  Luisa  de  Silva,  Duchess  of  Alba. 

Full-length,  seated  on  a chair  covered  with  yellow 
material,  over  which  is  spread  a cloak  lined  with 
ermine.  Her  right  arm  rests  on  a table,  and  she  leans 
her  head  on  her  right  hand.  Feet  crossed.  Wears 
low-neck  blue  dress,  earrings,  in  her  black  hair,  which 
is  arranged  low  on  forehead,  an  ornament  in  the  form 
of  a half-moon.  On  her  right  a guitar.  Grayish  green 
background. 

Signed  on  the  side  of  the  table : 

F^®  Goya 

Ano  179 — (presumably  1792). 

Canvas  44^4  W.  x 64%  H. 


GOYA 

(1746-1828) 


7 The  Famous  Bookseller  of  the  Calle  de 
LAS  Carretas. 

Three-quarters  length,  standing,  figure  turned  half- 
way to  the  left;  nearly  full  face,  looking  at  the  spectator. 
The  left  arm  hangs  at  her  side,  the  hand  holds  a closed 
fan.  Her  right  hand  holds  a white  mantilla,  which  she 
wears  on  her  black  hair.  Black  dress,  long  white  gloves 
on  both  hands.  Dark  grayish  brown  background. 

Canvas  30^  W.  x 43  H. 

Lithographed  by  Fuchs  in  Lafond’s  “ Goya,”  opposite 
page  52,  also  reproduced  in  his  “ Goya  ” of  the  year 
1910. 

Reproduced  in  Calvert’s  “ Goya,”  1908,  plate  58. 

Mentioned  in  Lafond’s  “ Goya,”  page  131,  No.  151. 
Mentioned  in  Calvert’s  “ Goya,”  1908,  page  136,  No. 
173. 

Previously  in  the  Collection  of  D.  Benito  Garriga, 
Madrid. 


12 


GOYA 

(1746-1828) 

8 Maria  Theresa,  “ Princess  of  the  Peace/' 

Three-quarters  length ; seated  in  gilt  arm-chair ; head 
slightly  inclined  to  the  right,  hands  clasped  before  her. 
Wears  low-neck  light-colored  dress.  On  middle  finger 
of  her  right  hand  is  a large  ring  bearing  portrait.  Her 
blonde  hair  is  arranged  low  on  forehead,  wears  cap 
which  is  tied  with  white  ribbon  under  chin. 

Canvas  31j4  W.  x 39^  H. 

She  was  the  daughter  of  Don  Louis  de  Bourbon  and 
his  wife,  the  beautiful  D?  Maria  Theresa  of  Valla- 
briga;  and  the  wife  of  Manuel  Godoy,  Prince  of 
the  Peace,  who  was  Minister  under  Charles  IV,  and 
favorite  of  the  Queen. 

Previously  in  the  Collection  of  the  Godoy  family, 
Madrid. 


13 


GOYA 

(1746-1828) 

9 Bartolome  Sureda  of  Seville. 

Three-quarters  length,  standing,  full  face,  looking  at 
the  spectator;  leaning  against  a stone  wall,  on  which 
rests  his  right  arm,  and  holding  in  his  hand  a black  hat 
with  red  lining.  The  left  hand  on  hip.  He  wears  a 
grayish  green  coat  and  a white  waistcoat  with  blue 
stripes.  Brown  background. 

Canvas  30^  W.  x 46  H. 

Companion  picture  to  No.  10. 

Mentioned  in  Lafond’s  “ Goya,”  page  138,  No.  214. 
Mentioned  in  Calvert’s  “ Goya,”  1908,  page  140,  No. 
237. 

Previously  in  the  Collection  of  D.  Sureda,  Seville. 


14 


GOYA 

(1746-1828) 


10  Teresa  Sureda. 

(Wife  of  the  Preceding). 

Three-quarters  length,  sitting,  to  the  left  in  an  Em- 
pire chair,  covered  with  yellow  and  green  silk.  Head 
half-way  turned  to  the  left,  looking  at  the  spectator. 
Her  left  arm  on  the  arm  of  chair;  her  right  elbow 
on  the  other  arm  of  chair,  and  her  hand  on  her  left 
forearm.  She  wears  a changeable  blue  silk  dress  with 
white  inside  collar.  Her  black  hair  arranged  in  ringlets 
low  on  forehead.  Black  background. 

Canvas  30^  W.  x 46  H. 

Companion  picture  to  No.  9. 

Mentioned  in  Lafond’s  ''  Goya,’"  page  138,  No.  215. 
Mentioned  in  Calvert's  ''  Goya,’’  1908,  page  140,  No. 
238. 

Previously  in  the  Collection  of  D.  Sureda,  Seville. 


15 


GOYA 

(1746-1828) 


11  D?-  Narcisa  of  Goicoechea 

(The  Little  Lady). 

Three-quarters  length,  seated  to  the  left  on  a chair 
with  yellow  back;  head  turned  half-way  to  the  left; 
looking  at  the  spectator.  Her  crossed  hands  rest  on 
lap;  in  her  right  she  holds  a closed  fan.  She  has  on 
the  little  finger  of  the  left  hand  a ring  with  blue  stone, 
on  which  is  the  artist’s  signature.  Wears  a black  dress 
with  white  sleeves  and  white  material  at  the  opening, 
where  a red  rose  is  pinned.  On  her  dark  brown  hair 
is  a black  mantilla,  ornamented  in  the  front  with  blue 
and  black  ribbons.  Light  grayish  green  background. 

Signed  on  the  ring  of  the  left  hand : 

“ Goya.” 

Canvas  29)4  W.  x 43)4  H. 

Reproduced  in  Calvert’s  “ Goya,”  1908,  plate  124. 


16 


GOYA 

(1746-1828) 


12  Queen  Maria  Luisa  of  Parma 

(Wife  of  Charles  IV  of  Spain). 

Nearly  three-quarters  length,  standing,  turned  slightly 
to  the  left;  full  face,  looking  at  the  spectator.  Hands 
in  front  of  her,  one  above  the  other ; in  her  right  hand 
she  carries  a fan.  She  wears  a low-neck  embroidered 
yellow  dress  over  white,  two  rows  of  pearls  around 
neck,  large  earrings.  On  her  black  hair  is  a yellow  and 
green  turban  with  white  feather.  Dark  background. 

Canvas  32)4  W.  x 42)4  H. 

Mentioned  in  Lafand’s  “Goya,”  page  119,  No.  26. 
Mentioned  in  Calvert’s  “ Goya,”  1908,  page  125,  No.  30. 

Collection  of  the  Duke  de  Rivas. 

Collection  of  Th.  Duret,  Paris. 


17 


GOYA 

(1746-1828) 

13  Senorita  Juanita  of  Mazarredo. 

Three-quarters  length,  standing,  full  face,  looking  at 
the  spectator ; left  arm  hangs  at  her  side ; the  left  hand 
holding  the  end  of  her  belt.  Wears  white  low-neck 
dress  with  short  sleeves,  ornamented  with  pink  bows  at 
the  elbow.  Grayish  blue  background. 

Canvas  22j4  W.  x 32^2  H. 

She  was  the  young  daughter  of  General  Mazarredo. 


GOYA 

(1746-1828) 


14  Arthur  Colley  Wellesley,  Duke  of 
Wellington. 

Nearly  half  length,  turned  to  the  left ; almost  full  face, 
looking  at  the  spectator.  His  right  hand  on  his  breast. 
Wears  dark  cloak,  at  the  opening  of  which  is  seen  a 
white  collar  and  the  red  decoration  ribbon  of  the 
Golden  Fleece;  dark  hat  with  white  feather.  Grayish 
background. 

In  the  lower  left  corner: 

“ A.  W.  Terror  Gallorum.” 

Canvas  31^  W.  x 40  H. 

There  was  a violent  dispute  over  this  portrait  between 
Wellington  and  Goya.  The  Spanish  painter,  Jose  de 
Madrazo,  succeeded  in  separating  them,  (^ya  fin- 
ished the  portrait  for  his  friend,  Don  Aleva,  from 
a model,  which  accounts  for  the  dark  mantle  instead 
of  the  brilliant  uniform,  as  he  had  at  first  intended. 

Mentioned  in  Lafond’s  “ Goya,”  page  140,  No.  232. 

Previously  in  the  Collection  of  D.  Ricardo  Aleva, 
Madrid. 


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